Censoring the Uncensored: the Case of ‘Children in Uniform’

2000 ◽  
Vol 16 (3) ◽  
pp. 219-226 ◽  
Author(s):  
John F. Deeney
Keyword(s):  
New Work ◽  
Women Playwrights ◽  
Culturally Specific ◽  
Cambridge University ◽  
Critical Success ◽  
Area Of Interest ◽  
Theatre Studies ◽  
And Performance ◽  
The University ◽  
The Relationship

British theatre between the two world wars has been a neglected area of interest for contemporary scholars and theatre historians, but a growing body of work in this field has of late begun to challenge the orthodoxies. Much of the new work has focused on the reclamation and repositioning of the work of ‘forgotten’ women playwrights and commercially successful gay playwrights such as Noël Coward and Terence Rattigan. Here, John Deeney examines how the Lord Chamberlain's licensing of Christa Winsloe's lesbian-themedChildren in Uniform, and the commercial and critical success of its production at the Duchess Theatre in 1932–33, invites a reassessment of the possibilities open to women playwrights for exploring ‘deviancy’; and how contemporary theoretical positions too frequently ignore the challenge of the historically and culturally specific. John Deeney is Lecturer and Course Director in Theatre Studies at the University of Ulster at Coleraine. He is the editor ofWriting Live: an Investigation of the Relationship between Writing and Live Art(New Playwrights Trust, 1998) and a contributor to the forthcomingWomen, Theatre and Performance: New Histories/New Historiographies(Manchester University Press) andBritish Theatre between the Wars(Cambridge University Press).

‘Brothers in Suffering and Joy’:the Appia–Craig Correspondence

1988 ◽  
Vol 4 (15) ◽  
pp. 268-288
Author(s):  
Richard C. Beacham
Keyword(s):  
Full Length ◽  
Cambridge University ◽  
Theatre Studies ◽  
The University ◽  
The Relationship ◽  
Dominant Influence ◽  
Joint School

The names of Appia and Craig are often linked as prophets of the ‘new’ theatre – and as early as 1915 critics were beginning to stake invidious claims as to which was the dominant ‘influence’. In fact, they arrived by separate paths at artistic conclusions some of which were compatible – and some of which reflected their very different temperaments and sense of theatrical priorities. At last, in 1914, the two men met, and until a few years before Appia's death in 1928 conducted an intermittent but intimate correspondence, which has previously been unpublished. Richard C. Beacham, who teaches in the Joint School of Theatre Studies in the University of Warwick, published a study of the relationship between Appia and Jaques-Dalcroze at Hellerau in NTQ 2 and 3, and here provides an illuminating commentary to extensive extracts from the Appia–Craig correspondence. His full-length study of Appia appears in the ‘Directors in Perspective’ series from Cambridge University Press.

The Masks of Greek Tragedy as Point of Departure for Modern Performance

2001 ◽  
Vol 17 (3) ◽  
pp. 254-272 ◽  
Author(s):  
Chris Vervain ◽  
David Wiles
Keyword(s):  
Greek Tragedy ◽  
Research Programme ◽  
Cambridge University ◽  
Performance Space ◽  
And Performance ◽  
The University ◽  
Near Future ◽  
Point Of Departure ◽  
Valuable Point ◽  
New Comedy

In this article, David Wiles and Chris Vervain stake out the ground for a substantial programme of continuing research. Chris Vervain, coming from a background in visual and performance art, is in the first instance a maker of masks. She is also now writing a thesis on the masks of classical tragedy and their possibilities in modern performance, and, in association with the University of Glasgow, working on an AHRB research programme that involves testing the effect of Greek New Comedy masks in performance. David Wiles, Professor of Theatre at Royal Holloway, University of London, has published books on the masks of Greek New Comedy and on Greek performance space, and lectured on Greek masks. Most recently, his Greek Theatre Performance: an Introduction (Cambridge University Press, 2000) included an investigation of the classical mask and insights provided by the work of Lecoq. He is now planning a book on the classical Greek mask. Wiles and Vervain are both committed to the idea that the mask was the determining convention which gave Greek tragedy its identity in the ancient world, and is a valuable point of departure for modern practitioners engaging with the form. They anticipate that their research will in the near future incorporate a symposium and a further report on work-in-progress.

scholarly journals Relationship Between Achievement Goals, Meta-Cognition And Academic Success In Pakistan

2009 ◽  
Vol 6 (5) ◽  
Author(s):  
Muhammad Sarwar ◽  
Muhammad Imran Yousuf ◽  
Shafqat Hussain ◽  
Shumaila Noreen
Keyword(s):  
Academic Achievement ◽  
Academic Success ◽  
Achievement Goals ◽  
Department Of Education ◽  
Performance Goals ◽  
Mastery Goals ◽  
And Performance ◽  
Education Academic ◽  
The University ◽  
The Relationship

The research was the replication of the study done by Coutinho (2006) and it aimed at finding the relationship between achievement goals, meta-cognition and academic success. Achievement goals were further divided into two types: mastery and performance. The participants were 119 students enrolled in M. A. Education, Department of Education at the University of Sargodha. The questionnaire used in the original study, along with Urdu translation, was administered to the participants. The questionnaire consisted of three sections measuring mastery goals, performance goals, and meta-cognition, respectively. The academic achievement record was taken from the Office of Department of Education. Academic achievement was taken as marked and obtained at the Matric, Intermediate, Bachelors, and M.A. levels. It was concluded there is no significant correlation between mastery goals and academic achievement. Similarly, there was no significant correlation between performance goals and academic achievement at Matric, Intermediate and Bachelor levels. However, negative correlation was observed between performance goals and achievement at the masters level. The researchers found no significant relationship between meta-cognition and academic achievement at all levels and there were no significant gender differences in mastery goals, performance goals and meta-cognition.

Contemporary Black and Asian Women Playwrights in Britain. By Gabriele Griffin. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2003; pp. x + 291. $75 cloth.

2005 ◽  
Vol 46 (2) ◽  
pp. 317-319
Author(s):  
Meenakshi Ponnuswami
Keyword(s):  
Cultural Studies ◽  
Asian Women ◽  
Women Playwrights ◽  
Cambridge University ◽  
Feminist Theatre ◽  
Black British ◽  
Stuart Hall ◽  
Theatre Studies ◽  
Paul Gilroy ◽  
Comprehensive Study

Gabriele Griffin's study of black and Asian women playwrights in contemporary Britain fills a gap in British theatre studies. Although a comprehensive study of black British theatre has yet to see print, two developments have, in the past decade or so, begun to stimulate critical attention in the field. One is the publication of plays by black and Asian authors, including collections of plays exclusively by women (such as Khadija George's edition of Six Plays by Black and Asian Women Writers of 1993), as well as the more systematic inclusion of works by writers such as Winsome Pinnock and Trish Cooke in anthologies of plays by new British dramatists. A second is the work of British cultural-studies scholars and sociologists during the same period, which has offered theatre historians some new approaches and challenges: Kobena Mercer's Welcome to the Jungle (1994); Catherine Ugwu's Let's Get It On (1995); Baker et al.'s Black British Cultural Studies (1996); Heidi Mirza's edited volume Black British Feminism (1997)—not to mention a vast body of work by Stuart Hall, Avtar Brah, Paul Gilroy, and others. Still, as Griffin notes at the outset, while immigrant and second-generation novels and films have received attention and accolades, black British theatre has tended to be ignored except by a handful of feminist theatre scholars.

Dance, Politics & Co-Immunity

2015 ◽  
Vol 47 (3) ◽  
pp. 106-109 ◽  
Author(s):  
Jens Richard Giersdorf
Keyword(s):  
Cultural Studies ◽  
Judith Butler ◽  
The Political ◽  
Dance Studies ◽  
Community Dance ◽  
Theatre Studies ◽  
And Performance ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

Dance, Politics & Co-Immunity developed out of a symposium organized by the Master in Choreography and Performance at the Justus-Liebig-University Giessen, Germany, which was held with a joint symposium Thinking—Resisting—Reading the Political organized by the Graduate Center for the Study of Culture at the same university in 2010. Whereas the cultural studies symposium asked, “What specific perspectives and methodological consequences arise for the study of culture that are informed by recent deliberations on the relationship of the political and the aesthetic?” (2010), the dance symposium invited participants and contributors to the anthology “to think about the multiple connections between politics, community, dance, and globalization from the perspective of Dance and Theatre Studies, History, Philosophy, and Sociology” (13). As indicated by the title of the cultural studies symposium and some of the key speakers, including Jacques Rancière, Chantal Mouffe, and Judith Butler, the term political is not used as broadly as it might be used in U.S.-based dance studies discourse. Rather, the political is predominantly investigated by both symposia for its resistive potential and from a liberal or post-Marxist stance.

British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama

1988 ◽  
Vol 4 (14) ◽  
pp. 122-143 ◽  
Author(s):  
Jim Davis
Keyword(s):  
Nineteenth Century ◽  
New South ◽  
Real Life ◽  
Theatre History ◽  
Popular Theatre ◽  
South Wales ◽  
Theatre Studies ◽  
The University ◽  
Relationship Of ◽  
The Relationship

In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He conveys both the pressures that existed for redress of abuses, and the consequent balance between coercion and subversion in the melodramas themselves – drawing in particular on the memoirs of Douglas Jerrold to explore aspects of the ambiguity to be found in contemporary attitudes. Jim Davis, who is the author of several books and articles in the area of nineteenth century theatre history, is presently teaching in the School of Theatre Studies at the University of New South Wales.

‘Yours Neutrally, Habitational Action’: Performance between Theatre and Dance

2013 ◽  
Vol 29 (3) ◽  
pp. 247-263
Author(s):  
Frank Camilleri
Keyword(s):  
A Priori ◽  
Associate Professor ◽  
Actor Training ◽  
Central Aspect ◽  
Theatre Studies ◽  
The Cross ◽  
And Performance ◽  
Performance Project ◽  
The University ◽  
Artistic Director

A milestone development in a practice-as-research investigation led to the identification of ‘habitational action’ as a term that resists a priori restrictions of inner–outer problematics when discussing performer processes. In this article Frank Camilleri cross-references the term with ‘neutral action’ to locate it conceptually and historically; first with Jacques Lecoq's pedagogical mask work, and then with Yvonne Rainer's conceptualization of the ‘neutral doer’. The cross-referencing to specific theatre and dance contexts is also intended to problematize psychophysicality as a central aspect of current actor training discourse. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. In 2007 he co-founded Icarus Publishing with Odin Teatret and the Grotowski Institute. He is also Visiting Professor in Theatre and Performance at the University of Huddersfield.

‘The Wooden Heads of the People’: Arnold Daly and Bernard Shaw

2006 ◽  
Vol 22 (1) ◽  
pp. 54-69 ◽  
Author(s):  
Leigh Woods
Keyword(s):  
The Other ◽  
University Of Michigan ◽  
The People ◽  
Theatre Studies ◽  
The University ◽  
Bernard Shaw ◽  
Marked Points ◽  
The Relationship

Once Arnold Daly and Bernard Shaw had got through their baptisms of fire in the transatlantic theatre of the 1890s, the circumstances for their future collaboration must have seemed propitious to them both. However, the Irish-American's inflexibility and the Anglo-Irishman's passion for control led to the fracturing of the relationship within the span of a few years in the first decade of the new century. The exposure of their work – in tandem in American vaudeville and later as competitors on the English variety stage – marked points of their disagreement and quirks in their difficult personalities as they scrambled for audiences who rarely appreciated them as much as both felt they deserved. Leigh Woods, Head of Theatre Studies at the University of Michigan, explores the breakdown of a partnership that launched one man on a course to oblivion and the other on a path to greater glory.

The Past in the Present? A Response to Stan's Cafe's Revival of ‘The Carrier Frequency’

2000 ◽  
Vol 16 (1) ◽  
pp. 97-99
Author(s):  
Frances Babbage
Keyword(s):  
Carrier Frequency ◽  
The Past ◽  
Theatre Company ◽  
Theatre Studies ◽  
The Subject ◽  
And Performance ◽  
The University

The premiere of The Carrier Frequency took place in 1984, the result of a collaboration between Leeds-based Impact Theatre Cooperative and the novelist Russell Hoban. Impact was founded in 1978 by Claire MacDonald, Pete Brooks, Steve Schill, Graeme Miller, Tyrone Huggins, and Richard Hawley, with Nikki Johnson and Heather Ackroyd joining in subsequent years. Many companies since have cited Impact as a major inspiration, with The Carrier Frequency in particular achieving almost mythic status. Today, Impact has long since disbanded, and little documentation of their work remains to enable their legacy to be passed on. In April 1999, the theatre company Stan's Cafe (none of whom had seen the original show) decided to restage The Carrier Frequency as part of Birmingham's ‘Towards the Millennium’ festival; in association with this project, a symposium was held on the subject of ‘Archaeology, Repertory, and Theatre Inheritance’. What follows is a personal response to the experience of attending the symposium and performance, and records a variety of attitudes towards myth-making, re-creation, and the potential and problems of documentation. Frances Babbage lectures in Theatre Studies at the University of Leeds.

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